Exam 1 - Music 101 with Funk at Montana State University - Bozeman - StudyBlue cord progressions Ragtime Originally solo piano music with a syncopated right hand over a steady, march like "stride" left hand. Scott Joplin is one principle American composer of piano rags (Jelly Roll Morton and a host of other piano players used this style 1900-1920) Instrumental versions, arrangements of piano rags and compositions for instrumental ragtime bands, involved everything written our in an old jazz style click track metronome setting played into headphones for tempo accuracy in recording Dixieland Freer than Ragtime, some of the music was written out, some improvised bridge contrasting middle section of a tune shout chorus loud full ensemble, closing of most big band charts trading fours musicians exchanging solos in four bar groups (i.e. trading fours with the drummer) comping writes the words for songs Blues Particularly popular from 1900-1920, but IS the main ricer that all popular music forms (Folk to Country to Rock and Roll) There were 8 ,12,24,32 bar blue but 12 was most popular.

Ray Charles was largely a blues artist, Stevie Ray Voughn, John Mayhall. 3-chord foundation (I, IV, V) and a melodic/lyrical structure AAB (repeat test and melody twice, punch line) heart of authentic blues Be-Bop a highly virtuosic (technically complex) jazz style with a fast harmonic rhythm, complex melodic structure, largely fast tempos. The end product requiring so much neural processing that is often alienated the less sophisticated listener, ultimately a return to the 3-chord-blues progression and the birth of rock n roll. Folk folk music uses acoustic instruments and doesn't not use electronic instruments. Melodies are strophic (Repeating) and in simple song form, usually telling a story. Songs are passed like an oral history, seldom written down, with each artist making their own subtle shifts or melody and lyrics to the song Leonard Bernstein composer of West Side Story, conductor of the New Your Philharmonic W.C. Handy jazz clarinet player, band leader American Art Song early American attempts to write light, classical music for chamber performance. Requiring trained musicians, the music more complex melodically and harmonically, this music imitates European classical music.

Tin Pan Ally is the name given to that area of New York City where the music publishing businesses began, creating music that amateur musicians could perform with relative ease and pleasurable end product Ella Fitzgerald jazz singer, (powerful scat singer) first female band leader, wrote "Tisket A Tasket"f Billie Holiday jazz singer, promoted by John Hammond (film) Musical Theater these are plays with songs interspersed to frame and showcase events happening in the story line, accentuating the climactic highs and lows of the theatrical presentation, character development, and overall making pot events memorable. The first musical to prove that was Broadway musicals/American musical theater could deal with serious subject matter was Oklahoma (1943) Rodgers and Hammerstein. Since then, musicals most often deal with a social issue current at the time the musical was created Film Score music written for films and movies. Composers were originally classically trained who studied European conservatories, immigrated to the US finding no work as "serious composers" opted into the world of film composers.

Erich Korngold, Dmitri Toimkin, Max Steiner, Bernard Hermann (Hitchcock Films) John Williams(Star Wars) James Horner, Danny Elfman, Hans Zimmer, are all film score composers who use full orchestra (Largely). Film period where small jazz groups were used for budgeting reasons Hans Zimmer composer of film scores (Power of One) George Gershwin composer (with brother Ira-lyricist) of American songs, Musicals, Rhapsody in Blue Stephen Sondheim composer/ librettist/lyricist- wrote words for songs in West Side Story Scott Joplin Ragtime piano composer and performer. Music immortalized in "The Sting" Charlie Christian Jazz guitar with Benny Goodman - Electric guitar Stephen Foster American Art Song/ Tin Pan Alley composer Paul Desmond Sax player with the Dave Brubeck quartet.

Composed "Take Five" Miles Davis Jazz trumpet player, pioneered different styles of jazz music in his lifetime Charlie "Yardbird" Parker jazz sax player, with Miles Davis credited for founding BeBop John Coltrane jazz sax player established a distinct style of playing/unique sound Jerome Kern widely acknowledged as the "Father of the American Musical" Irving Berlin Benny Goodman facts, information, pictures | Encyclopedia.com articles about Benny Goodman COPYRIGHT 2004 The Gale Group Inc. Benny Goodman Benny Goodman (1909-1986) was a great jazz clarinetist and leader of one of the most popular big bands of the Swing Era (1935-1945). Benjamin David Goodman was born in Chicago, Illinois, on May 30, 1909, of a large, poor Jewish family. (A brother, Harry, was later a bassist in Benny's band.) Benny studied music at Hull House and at the age of 10 was already a proficient clarinetist.

At age 12, appearing on stage in a talent contest, he did an imitation of the prevailing clarinet favorite, Ted Lewis; so impressed was popular bandleader Ben Pollack that five years later he sent for Goodman to join the band at the Venice ballroom in Los Angeles. After a three-year stint with Pollack, Goodman left in 1929 to free-lance in New York City in pit bands and on radio and recordings. In 1934 he led his first band on an NBC radio series called "Let's Dance" (which became the title of Goodman's theme song). The band also played at Billy Rose's Music Hall and at the Roosevelt Hotel and made a handful of records for the Columbia and Victor labels. In 1935, armed with a repertory developed by some great African American arrangers (Benny Carter, Edgar Sampson, Horace Henderson, and ex-bandleader and Swing Era genius Fletcher Henderson), the band embarked on a most significant road trip. Not especially successful in most of its cross-country engagements, the band arrived at the Palomar Ballroom in Los Angeles in a discouraged mood.

The evening of August 21, 1935, began inauspiciously, the audience lukewarm to the band's mostly restrained dance music. In desperation Goodman called for the band to launch into a couple of "flagwavers" (up-tempo crowd-pleasers)—"Sometimes I'm Happy" and "King Porter Stomp"—and the crowd reaction was ultimately to send shock waves through the entire pop music world. Hundreds of people stopped dancing and massed around the bandstand, responding enthusiastically and knowledgably to arrangements and solos that they recognized from the just recently released records. (Apparently Goodman had been too conservative both early in his tour and earlier that night and had underestimated his audience.) The Palomar engagement turned out to be not only a personal triumph for the band but for swing music in general, serving notice to the music business that "sweet" dance music would have to move over and make room for the upstart (and more jazz-based) sound.

Goodman's popularity soared: the band topped almost all the magazine and theater polls, their record sales were astronomical, they were given a weekly cigarette-sponsored radio show, and they were featured in two big-budget movies, "Hollywood Hotel" and "The Big Broadcast of 1937." But an even greater triumph awaited. Impresario John Hammond rented that bastion of classical music, Carnegie Hall, for a concert that was to win respectability for the music. The night of January 16, 1938, is now legendary; responding to the electric expectancy of the overflow audience, the band outdid itself, improving on recorded favorites like "King Porter Stomp," "Bugle Call Rag," "Down South Camp Meeting," and "Don't Be That Way." It capped off the evening with a lengthy, classic version of "Sing, Sing, Sing" which featured some brilliant solo work by trumpeter Harry James, pianist Jess Stacy, and Benny himself. Two of the finest musicians ever to work with Goodman were pianist Teddy Wilson and vibraphonist-drummer Lionel Hampton.

Both were with the band from the mid-1930s and both were present at Carnegie Hall, but they were used only in trio and quartet contexts because of the unwritten rule forbidding racially integrated bands. Goodman has the distinction of being the first white leader (Artie Shaw and Charlie Barnet followed suit) to challenge segregation in the music business, and as the restrictions eased he hired other African American greats such as guitarist Charlie Christian, trumpeter Cootie Williams, bassist Slam Stewart, and tenor saxophonist Wardell Gray. Goodman's band had a greater personnel turnover than most bands, and an endless array of top-notch musicians moved through the band, among them trumpeters Bunny Berigan, Harry James, and Ziggy Elman; trombonist Lou McGarity; tenor saxophonists Bud Freeman, Georgie Auld, Zoot Sims, and Stan Getz; pianists Mel Powell and Joe Bushkin; vibists Red Norvo and Terry Gibbs; and drummers Dave Tough and Louis Bellson. Most defected to other bands and a few to start their own bands (Krupa, James, and Hampton).

Overwhelmingly, musicians found Goodman an uncongenial employer: he was reputed to be stern and tight-fisted. A taciturn, scholarly-looking man, Goodman was unflattering referred to in music circles as "The Ray" because of his habit of glaring at any player guilty of a "clam" or "clinker" (a wrong note), even in rehearsal. A virtuoso clarinetist equally at home performing Mozart (which he did in concerts and on records), Goodman was less than patient with technical imperfection. After World War II the clarinet, which, along with the tenor saxophone, had been the Swing Era's glamour instrument, was relegated to a minor role in bebop's scheme of things. Even the peerless Buddy DeFranco, the definitive bebop clarinetist, was unluckily marginal in an alto saxophone-and-trumpet-dominated idiom. Goodman struggled for a while to reconcile himself to the new music, but in 1950 he decided to disband, and from that time forward his public appearances were rare and were chiefly with small groups (usually sextets or septets) and almost exclusively for television specials or recordings or European tours.

In 1950 he toured Europe with a septet that included two other jazz greats, trumpeter Roy Eldridge and tenor saxophonist Zoot Sims. His most celebrated tour, however, was part of the first-ever cultural exchange with the Soviet Union. In 1962, at the behest of the State Department, he went to Russia with a septet that included Sims and alto saxophonist Phil Woods. The trip was a smashing success and contributed greatly to the popularization of American jazz in Eastern Europe. After his marriage in 1941, Goodman's home was New York City; his wife Alice (John Hammond's sister) died in 1978; they had two daughters, and she had three by a previous marriage. Goodman maintained his habit of spot-performing and in 1985 made a surprise and, by all accounts, spectacular appearance at the Kool Jazz Festival in New York. He died the following year of an apparent heart attack. With his withdrawal from the limelight, most observers felt that he became a deeper, less flashy player than he was in the glory years when he was fronting the country's most popular swing band.

His ultimate contribution to jazz, however, is still being debated: much post-1940s jazz criticism retrospectively judged him to have been overrated relative to the era's other great clarinetist-leader, Artie Shaw, and to the great early Black players of the instrument (Jimmy Noone, Johnny Dodds, Edmond Hall, and Lester Young, a tenor saxophonist who "doubled" on clarinet) and the great white traditionalist Pee Wee Russell. Esthetic evaluations are problematical at best and tend to fluctuate from era to era, but Goodman's technical mastery, burnished tone, highly individual (and influential) solo style, and undeniable swing certainly earned him a permanent place in the jazz pantheon. Further Reading There is no serious biography of Goodman. There was a promotional autobiography, written with the help of Irving Kolodin, in 1939 called The Kingdom of Swing. A film biography produced in 1955 titled "The Benny Goodman Story" is more Hollywood than Goodman. Probably the best source is a biography-discography by D. Russell O'Connor and Warren W. Hicks, Benny Goodman—On the Record (1969).

□ Cite this article Pick a style below, and copy the text for your bibliography. MLA The Columbia Encyclopedia, 6th ed. Copyright The Columbia University Press Benny Goodman (Benjamin David Goodman), 1909–86, American clarinetist, composer, and band leader, b. Chicago. Goodman studied clarinet at Hull House. In Chicago he had the opportunity to hear (and eventually to play beside) some of the outstanding jazz musicians of the era. He played the clarinet for many years in Chicago and later in California. In 1928 he went to New York City, where in 1934 he organized his own orchestra. In 1935 he formed the Benny Goodman trio with Gene Krupa and Teddy Wilson; it became a quartet in 1936 when Lionel Hampton joined it. Performing for radio, motion pictures, and records, Goodman's orchestra became nationally famous. After 1939 he became known as the King of Swing. In the 1950s Goodman's many tours abroad gained him international esteem. He also achieved success playing classical music for clarinet, particularly with the Budapest String Quartet.

He commissioned Béla Bartók to compose Contrasts, for violin, clarinet, and piano, in 1938. Aaron Copland, Leonard Bernstein, and Morton Gould wrote music for him. Goodman wrote The Kingdom of Swing (1939) with Irving Kolodin. See bio-discographies by D. R. Connor (1958 and 1969); study by J. L. Collier. Cite this article The Concise Oxford Dictionary of Music © The Concise Oxford Dictionary of Music 1996, originally published by Oxford University Press 1996. Goodman, Benny [Benjamin] (David) (b Chicago , 1909; d NY, 1986). Amer. clarinettist and jazz musician. Trained in mus. at synagogue. Prof. début 1921 at Central Park Th., Chicago. Joined Ben Pollack's band as a soloist 1925. Went to NY with Pollack and after 1929 worked as freelance. In 1934 formed his own 12-piece band, inaugurating the ‘swing era’.

In 1935 formed a trio with Teddy Wilson (pf.) and Gene Krupa (drums), expanding it in 1936 to a quartet with Lionel Hampton (vib.). In 1938 recorded Mozart cl. quintet with Budapest Qt. and commissioned Contrasts from Bartók, giving f.p. in NY 1939 with Szigeti and Bartók. Soloist with NYPO (cond. Barbirolli) in Mozart conc. Commissioned concs. from Copland and Hindemith 1947, and appeared as soloist with Amer. orchs. in works by Bernstein, Brahms, Debussy, Weber, Nielsen, Prokofiev, Poulenc, and Stravinsky. Re-formed own band 1940 and again 1948. Toured Russ. 1962. Played at Aldeburgh Fest. 1985.

Cite this article Artie Shaw, Bandleader, Composer and Wizard of the Clarinet, Is Dead at 94 - Obituary (Obit); Biography - NYTimes.com Artie Shaw, Bandleader, Composer and Wizard of the Clarinet, Is Dead at 94 By JOHN S. WILSON Published: December 31, 2004 Artie Shaw, the jazz clarinetist and big-band leader who successfully challenged Benny Goodman's reign as the King of Swing with his recordings of ''Begin the Beguine,'' ''Lady Be Good'' and ''Star Dust'' in the late 1930's, died yesterday at his home in Newbury Park, Calif. He was 94. He apparently died of natural causes, his lawyer, Eddie Ezor, told The Associated Press. In the Royalty of Swing Artie Shaw's virtuosity on his instrument, his groups' highly original arrangements and his explosively romantic showmanship made him one of the most danced-to bandleaders of swing and one of the most listened-to artists of jazz.

He quit performing in 1954 , but the many re-releases of his discs, a ghost band, and his informed but often sardonic comments on music and many other subjects kept him in the public ear. Although his musical career closely paralleled that of Benny Goodman, his archrival, who died in 1986, the two men had little in common in their approaches to music. ''The distance between me and Benny,'' Mr. Shaw said several years ago, ''was that I was trying to play a musical thing, and Benny was trying to swing. Benny had great fingers; I'd never deny that. But listen to our two versions of 'Star Dust.' I was playing; he was swinging.'' Mr. Shaw impressed and amazed clarinetists of all schools. Barney Bigard, the New Orleans clarinetist who was Duke Ellington's soloist for 14 years, said he considered Mr. Shaw the greatest clarinetist ever. Phil Woods, a saxophonist of the bebop era, took Charlie Parker as his inspiration on saxophone, but he modeled his clarinet playing on Mr. Shaw's.

John Carter, a leading post-bop clarinetist, said he took up the instrument because of Mr. Shaw. And in 1983, when Franklin Cohen, the principal clarinetist of the Cleveland Orchestra, was to be featured playing Mr. Shaw's Concerto for Clarinet, he listened to Mr. Shaw's recording of the work and said he found his playing unbelievable. ''Shaw is the greatest player I ever heard,'' he said. ''It's hard to play the way he plays. It's not an overblown orchestral style. He makes so many incredible shadings.'' Mr. Shaw and Mr. Goodman were born a year apart (Goodman in 1909; Mr. Shaw on May 23, 1910); both had Jewish immigrant parents and grew up in the ghettos of major American cities. Mr. Shaw grew up on the Lower East Side of Manhattan, Goodman on the west side of Chicago. They began playing professionally as teenagers, and by 1926 they were both far from home performing with major bands of the day: Goodman in Venice, Calif., with Ben Pollack; Mr.

Shaw in Cleveland with Austin Wylie. In the Depression era, they settled in New York City and were the top two choices for the woodwind sections of radio-network and recording-studio orchestras. Frequently, they sat side by side in these ensembles. By then, however, Mr. Shaw had decided music was a dead end. He intended to be a writer, and he had become a voracious reader. At band rehearsals, his music rack often held a book he was reading along with the compositions he was playing. But his interests reverted to music after he was asked to play at a concert at the Imperial Theater in New York in May 1935. It was called a swing concert, and it included well-known swing bands like the Casa Loma Orchestra and the bands of Tommy Dorsey and Bob Crosby. Although Mr. Shaw was not yet known to much of the public, he was asked to put together a small group to play while the band onstage was changed. ''Just for kicks, I thought I'd write a piece for clarinet and string quartet, plus a small rhythm section,'' Mr. Shaw recalled.

''Nobody had ever done that, sort of a jazz chamber-music thing.'' An Instant Hit His Interlude in B flat brought down the house. The audience refused to stop applauding, but Mr. Shaw had nothing else to play because this was the only thing he had written for the group. Finally, they played it again. On the basis of this success, he was urged to form a band. He was not interested until he learned that with a successful band he could earn as much as $25,000 in six months, which was the amount he needed to complete his education. The band he formed was an enlargement of the group he had used at the concert: a string quartet and his clarinet, with one trumpet, one saxophone and a rhythm section. But when he arrived in the real world of dance halls and nightclubs, he found himself bucking a tide that clamored for what he later described as ''chewing drummers and loud swing fanaticism.'' So he formed a new band with the same instrumentation as Goodman's, promising it would be ''the loudest band in the whole damn world.'' With the new ensemble, he got a new name.

Originally named Arthur Arshawsky, he had already shortened that to Art Shaw professionally. But when he became a bandleader on radio, there were complaints that an announcement of his name sounded like a sneeze. So he made one more change, to Artie Shaw. As this band developed during a long run at the Roseland-State Ballroom in Boston, the original concept changed to a concentration on smoothly swinging treatments of the music of Jerome Kern, Cole Porter, Richard Rodgers, Vincent Youmans and others. What 'The Beguine' Began Chapter 7: Swing Bands | Jazz: W. W. Norton StudySpace Jazz: W. W. Norton StudySpace Swing Bands Chapter Outline This chapter addresses the growth of jazz-oriented large dance orchestras, tracing the development of musical style and exploring the social and economic context for the national dance craze known as the Swing Era. We examine the changes in the music business caused by the Depression, and discuss the musical elements that went into the new swing style. We look at the economic and psychological "shift" that resulted in mass white enthusiasm for black dance-band music.

Special attention is given to Benny Goodman, who exemplified these changes and brought jazz both into the popular mainstream and into a closer relationship to art music. We also encounter other swing bands, such as those of Artie Shaw, Glenn Miller, Jimmie Lunceford, Cab Calloway, and Chick Webb. During the 1930s, jazz was called swing. The features of swing include: Played by big bands made of instrumental sections of reeds, brass, and rhythm Derived from music of the 1920s Retained rhythmic contrast, bluesy phrasing, and balance between improvisation and composition Commercial Homophonic textures, bluesy riffs, clearly defined melodies, dance grooves The Depression Swing was bounded by two events. The first was the Great Depression, which started in 1929 and deepened into the 1930s. Swing, like other popular culture forms, acted as a counterstatement to the deep anxiety caused by the Depression. But swing also demanded action in the form of exuberant and partly improvised dance. Moreover, it was teenagers' music, perhaps the first of its kind. World War II This was the second major event.

After four years of fighting and devoting the nation's manpower and production capabilities to the war, the country demilitarized, and as servicemen and women returned home, the dancing culture flared, and with it the economic basis for swing. During the war, swing was very popular. For many it symbolized the strengths of American democracy: it was participatory, informal, and built community. Swing and Race African Americans, as usual, lined up to volunteer to fight. But, again as usual, the armed forces were segregated and, except for a few exceptions, African Americans were trained in segregated camps with white officers and restricted to menial labor. Racism was in the air. The Japanese were characterized as "yellow." Accordingly, black newspapers called for a "Double V" campaign-victory abroad and victory over racial prejudice at home. Swing played both sides of the race card. On the one hand it was a symbol of black culture: its dance steps were developed by black teenagers; its call-and-response, riff-based performance practices mimicked black church music; and it boosted the careers of some black bandleaders.

On the other hand, whites didn't know the black origins of the music, the dance, or the language ("jive" ) that went with it; black bands had to tour the Jim Crow South; and some black musicians felt the music had been stolen from them. Swing and Economics The Depression almost destroyed the record industry, along with the availability of free music on the radio. Familiar companies went bankrupt or were bought out. By the mid-1930s, things were beginning to look up due to the popularity of the jukebox and price reductions by a few of the surviving recording companies, Decca plus two firms owned by radio networks (Columbia by CBS; Victor by NBC). These were the three majors. Industry concentration also occurred in the radio business, Hollywood movies, and Tin Pan Alley. All of these intersected: pop music depended on radio and movies often premiered songs. Stars moved from radio to Hollywood and back. Jazz, then, was part of a popular entertainment network whose products were shared by the nation. Some saw this homogenization as a loss, similar to fascism, or at the very least demeaned through commercialism.

In this context, big-band music can be thought of as pop with occasional jazz interpolations. On the other hand, commercialism made this jazz possible in that it attracted many musicians from all over, and as competition increased, so did the musical standards in terms of technical reading ability. Voices For a good example of racism during the Swing Era, read the quote by trumpeter Roy Eldridge in the text. Swing and Dance Swing was characterized by a four-beat foundation, perfect for dancing. Although not new, it was firmly established by the early 1930s. The Savoy Swing dance came out of Harlem's Savoy Ballroom. A block long, luxurious, and charging a modest entrance fee, one could hear two bands a night there and enjoy them in a mixed ethnic and social environment. Social dancing at the Savoy was communal and intense. Thousands packed the huge dance floor, with the best dancers doing their best moves right next to the bandstand and often rehearsing in the afternoons at the Savoy. In both cases, communication between dancers and musicians on issues of tempo and groove was typical. The new dance style was called the Lindy Hop.

It was more African-lower to the ground, more flexibility in the hips and knees. It also allowed for improvisation during the breakaway. As the dance grew more athletic, "air steps" started to be used. White commentators were amazed. The Rhythm Section To accommodate the new groove, the tuba made way for the string bass, which was now easily recordable with the invention of electrical recording technology. The string bass has a more percussive quality than the tuba, adding to the excitement of the music to match the Lindy Hop's energy. And it could play a steady four-to-the-bar beat throughout an entire performance. The guitar took over from the banjo. Again, because of electrical recording technology, the raucous loud sound of the banjo was no longer necessary to cut through the sound of the band. The guitar added a more subtle and secure sound to the music. Arranging Louis Armstrong's influence led many arrangers, like Benny Carter, to create elaborate solo lines for an entire section-soli-that were harmonized in block chords, and to creatively orchestrate and harmonize their arrangements. At the same time, simpler, orally derived arrangements, or "head" arrangements, were also popular.

Henderson Fletcher Henderson, the most prolific black recording artist of the day, used both written and head arrangements. He had a stable of very good arrangers-his brother Horace, Carter, and Redman-but most of his hits were head arrangements of older tunes such as "Sugar Foot Stomp" ( derived from "Dippermouth Blues" ) and Jelly Roll Morton's "King Porter Stomp." Eventually, after he started to arrange for the band, Henderson notated these arrangements. His arranging style was characterized by short, memorable riffs typically in call-and-response fashion. He often transformed the melody into short burst of notes. He left lots of room for solos, for which he wrote either held-chord or riffs backgrounds. His arrangements also featured driving, riff-based climactic choruses. "Blue Lou" Earlier recordings of the Henderson band never lived up to their live performances. But by 1936, when this was recorded, they were a much better recording ensemble. This piece was written by saxophonist Edgar Sampson and arranged by Horace Henderson.

It oriented toward soloists Roy Eldridge on trumpet and saxophonist Chu Berry, who use the simple, two-note figure of opening melody to good effect in their respective solos. The recording starts in a relaxed, two-beat rhythm but the four-four swing rhythm eventually takes over. The first chorus introduces the melody, which is deformed by the last chorus. It modulates to another key near the end, perhaps reflecting the need to be flexible in performing for dancers. Breakthrough Through the 1930s, the music industry was divided by race. Although there were exceptions, musicians, venues, and audiences followed this pattern either by segregating the venue on a particular night or reserving performances for either blacks or whites, although black bands could play for white audiences and vice versa. Economically, segregation worked in favor of whites. The highest-paying venues usually hired white bands, and Jim Crow laws in the South kept black bands on their toes. Because of racial stereotyping, black bands specialized in "hot" dance music. But they also had to be versatile in order to survive. They had to be great readers, able to perform all kinds of danced styles.

The major black bands, such as Duke Ellington's and Cab Calloway's, were able to remain viable during the Depression. There is a long history of white musicians listening carefully to black musicians and thereby learning how to play jazz. Many white musicians learned how to play "legit" and then copied whatever jazz they could find. But playing jazz made them outsiders to the community. Their "day gig" was generally to play in commercial ensembles like radio orchestras so that they could play jazz at night. This all changed with Benny Goodman. Benny Goodman (1909-1986) Goodman grew up very poor in Chicago but found he could escape a life of menial labor through music. He studied with Chicago Symphony clarinetist Franz Schoep while listening to Chicago jazz. He modeled his playing on both white (Leon Rappolo) and black (Jimmie Noone) players. By the 1920s he had played with Ben Pollack's band as a good player leaning toward jazz. Goodman wanted to lead a band that bridged jazz and the commercial world of music. Mildred Bailey suggested he hire some black arrangers, many of whom were out of work due to the Depression.

He hired some of the best: Benny Carter, Edgar Sampson, and Fletcher Henderson. In 1935 the band was featured as the "hot" orchestra on the radio program Let's Dance. They went on a national tour that summer to a dismal response until they played the Palomar Ballroom in Los Angeles, where they were an immediate hit, probably due to the fact that their late-night radio broadcasts were aired at prime time in California. White teenagers launched the Swing Era. The band applied jazz arrangements to current pop songs. Arrangements usually started with a clear rendition of the melody, but in later choruses the tune turned into swing. Goodman was viewed as someone who could take black music and use it in such a way that whites could dance to this liberating and exciting sound. Goodman brought dance music into the mainstream. "Sweet" bands were considered corny. But Goodman could play both "hot" and "sweet," and he programmed his music to match the tastes of a broad audience. His band played a successful concert at Carnegie Hall in 1938, cementing their respectability. Teenagers adopted black dance ("jitterbugs") and slang ("jive").

They lined up for concerts and danced in the aisles. This shocked their parents (as it was probably meant to do). Goodman could satisfy jitterbugs while at the same time make jazz acceptable. Small-Group Swing Goodman launched a number of small groups that emphasized the soloist, renewing an interest in improvisation. Some of them were interracial. Goodman met pianist Teddy Wilson (1912-1986) on his way back to Chicago from California. He jammed with Wilson and was impressed with his polished, inventive improvisations. He was also dismayed by the possibility of forming a mixed-race trio with his white drummer, Gene Krupa, and African American Wilson. The trio recording sold well so, rather than putting Wilson in the big band, Goodman brought him on as a special guest. This "band-within-a-band" concept soon caught on with other bandleaders. In 1936, Goodman added vibraphonist Lionel Hampton (1908-2002) to form a quartet. Hampton saw himself as an entertainer as well as a musician. He later formed his own band and took part in early R and B.

The extraverted Hampton and Krupa contrasted with the shy Goodman and Wilson. "Dinah" A thirty-two-bar, AABA pop song composed in 1925, it became a standard. It has the feeling of a jam session about it. Goodman starts by playing the melody but then plays a busy bridge. Hampton uses riff figures and complicated harmonic substitutions. Krupa starts interacting rhythmically while Goodman improvises. Wilson adds a brief solo. By the end, the three are playing polyphonically. Other recordings show them ending on riffs. This is a very polished style with no mistakes and a very relaxed feeling. John Hammond (1919-1987) and Other Jazz Enthusiasts Hammond was a longtime music entrepreneur and activist. He was important in many musical careers and styles, including boogie-woogie, Kansas City jazz, Billie Holiday, Bessie Smith, Fletcher Henderson, Benny Goodman, Count Basie, Bob Dylan, and Bruce Springsteen. He was born into a wealthy New York family. He was attracted to the black music of Harlem from an early age. After graduating from Yale, he became a jazz reporter, and eventually, a record producer.

His two passions were a hatred of racial injustice and a love of black folk music and jazz. Because of the first passion, he was involved in left-wing causes. The second passion led him to believe that black music was better than white music. At first Hammond's two interests did not fit together, but in response to the rise of fascism, a broad coalition of left-wing forces was formed. Known as the Popular Front, its members viewed folk music as the voice of the common man (previously, the Communist Party saw jazz as a product of capitalism). As a leftist, Hammond was unusual. He decided to work within the capitalist system. He joined Columbia Records and scouted out new talent, which, one way or another, he recorded.. However, some black musicians, such as Ellington, resented his aristocratic insistence. Early Jazz Fans Hammond was one jazz enthusiast among many. A growing legion of jazz record collectors started searching for old recordings. This led to the first jazz reissues, which preserved the jazz of the 1920s. Some collectors noted the discographical details of each recording they found. This led to the beginnings of jazz discography, the science of jazz record classification.

They also formed "Hot Clubs" in the towns across the United States. New magazines such as Downbeat and Metronome were formed to meet the reading needs of these fans. Fans applauded the mainstream acceptance of jazz but were wary of "commercialism," even though it was the commercial success of jazz that fostered the "anticommercialism" of the fans. Major Swing Bands As the dance business boomed, so did the proliferation of dance bands, often from within the ranks of established ensembles such as Benny Goodman's. Artie Shaw (1920-2004) Shaw was Goodman's chief rival, having come from the same kind of background, studied clarinet, and learned from the great African American musicians of Chicago. He also listened to European composers such as Stravinsky and Debussy. He led a double life: one as a jazz musician playing with Harlem musicians such as Willie "The Lion" Smith, and one as a member of the CBS staff orchestra playing commercial music. Never expecting to make much out of his music, he nevertheless had a huge hit in 1938 with "Begin the Beguine." He became a major celebrity, which he felt got in the way of the music.

He particularly detested jitterbugs. He dissolved his band several time before retiring from music in 1954. "Star Dust" Shaw was a skilled improviser. He sometimes played raucous music, but at other times, he played music that tried to bridge the jazz and classical worlds. In 1936 he wrote a piece for clarinet and string quartet and in 1940 he added a nine-piece string section to his band, which was well used by arranger Lennie Hayton. "Star Dust" comes from this period and provides a new sound for a swing band. It focuses on the melody rather than the dance-evoking, riff-based arrangements of many bands from that period. All of the solos are restrained. Jimmie Lunceford (1902-1947) Lunceford did not fit the bandleader mold: he was not a star performer; although he learned to play a number of instruments, he did not play in the band; and he was university educated and a high school music teacher before he started the band. Like many African American educators, he saw music as a means of social and economic uplift.

He organized his students into this first band, the Chickasaw Syncopators. He augmented his band with friends from Fisk University. The band got its first big break in 1934, when they were asked to play at the Cotton club. They recorded for Decca Records and toured the United States. Lunceford was a strict disciplinarian in terms of music, appearance, and behavior. While putting on a show, the performers played hard-driving swing music as well as humorous novelties. A black band such as Lunceford's had to tour continually. By 1942, many of the musicians had had enough and the best soloists quit. "Annie Laurie" This piece was arranged by one of Lunceford's top arrangers, Sy Oliver, a trumpeter who joined the band in 1933. This piece is far from a typical swing tune. Originally a nineteenth-century tune that became a favorite of Scottish soldiers by the mid-nineteenth century, Oliver turns it into a lively swing tune, recorded live here.

Glen Miller (1904-1944) Probably the most popular band leader of the 1940s, Miller had no intentions of forming a jazz band. He aimed for the white American middle class. Born in the Midwest, he developed a liking for jazzy dance music. During the 1920s, he was both an arranger and a soloist, working at various times with Goodman, the Dorsey Brothers, and Ray Noble. In 1938 he started his own band, which played clear melodies in a smooth, danceable rhythm with a distinctive sound. He created this sound by combining the saxophone section with a clarinet. He also added vocals to some of his arrangements. This combination resulted in a great number of hits during the 1940s. Miller also worked with the armed services. His 1942 Glen Miller Army Air Force Band, a large ensemble that included strings and brass, featured an eclectic mixture of music. In 1944 Miller disappeared over the English Channel.

Cab Calloway (1907-1944) To whites, Calloway represented an entrÃ©e into African American cultural life; to blacks he represented the hope that a man with talent and ambition could rise to the top. He grew up in Baltimore. He studied classical singing but sang jazz at night. In the 1920s he met Armstrong, from whom he learned about scat singing. His band, the Alabamians, played New York's Savoy Ballroom but were viewed as corny. In 1930, he took over a swinging band from Kansas City, the Missourians. It was this band that was asked to replace Duke Ellington at the Cotton Club. Here, he joined up with songwriter Harold Arlen and lyricist Ted Koehler to create a number of pieces that depicted imaginary Harlem scenes. Calloway's exuberant personality and scat singing added excitement to the songs. He was a very good singer with a broad range. He was also a good businessman, hiring the best musicians he could find. His band toured the South, evoking often-hostile reactions to their New York hipness.

But at least they traveled in style, on their own Pullman car. By the 1930s Calloway started to focus on jazz. He hired the best jazz musicians, including a young Dizzy Gillespie. The quality of the music, including some of Gillespie's first arrangements, was always high and there were plentiful opportunities to solo. Calloway also played the role of Sportin' Life in the 1950 production of Gershwin's Porgy and Bess. Finally, he appeared in the 1980 movie The Blues Brothers.

Question: Band leader Benny Goodman was an accomplished player of which instrument?
Answer: Clarinet